My artistic practice is centered on the thresholds between the internal and the external — in the psyche, in the social sphere, and in the relationship between humans and nature. I am drawn not to conflict but to the transitional space itself. Color allows me to register and articulate this zone. It is there that my works merge abstraction, figurative traces, and semi-abstract landscapes. This hybrid visual language makes it possible to speak simultaneously from personal experience and toward universal themes.
Color plays both a structural and an emotional role. It generates tension, brings suppressed states to the surface, and sets the inner rhythm of the painting. I treat the pictorial field as a model of psychological, social, and natural systems, each of which produces tension in its own way — sometimes as an inherent part of its nature, sometimes as a consequence of intervention. I am drawn to fragile equilibrium, the moment when a system holds itself at the edge — not visually, but through a conceptual and emotional charge that determines the logic of the whole work.
A distinct part of my practice is the idea of the active perimeter. This is not a technical addition but a way to extend the painting beyond its frontal plane. Color applied to the edges of the canvas operates within peripheral vision, creating an additional emotional layer. The perimeter becomes a transitional zone, a field of subtle pressure that works on the subconscious. As the viewer shifts position, the work changes; the same subject unfolds from different angles, activating the periphery as a meaningful part of perception.
My process is a balance between the spontaneous and the rational. It begins with an intuitive phase: the first composition, the emergence of forms, color fields — on paper or directly on the canvas. One dominant color is determined; it becomes the emotional code of the work. Harmony between tones is sensed intuitively, yet their placement follows a clear intention. This is followed by the stage of clarification: refining the structure, positioning accents, adjusting the rhythm.
I aim for my works to function not as images but as energetic spaces — visual sites of resonance. Places where inner states, environmental pressures, and the connection to nature can be experienced more deeply, prompting reflection and transformation. All my projects share one idea: the internal resonates with the external, and the external reflects back into us. The painting becomes the point of exchange — where we can see how our states are formed and how, in turn, we shape the world around us.